Before we begin consider this: As pianists we need to be ready to accept 2 different roles. You’ll hear me demonstrate all the cool piano rhythms using the famous jazz standard Autumn Leaves. Often the focus in comping is too much on all the 8th note upbeats and we forget that you can do a lot with quarter notes as well. In this section, our examples will follow the common jazz chord progression ii - V - I - vi in the key of Bb (Cm7 - F7 - Bbmaj7 - Gm7). Before we can get into piano comping, we need to learn the chord voicings for the song. If you are just accompanying a vocalist, you may find they are too heavy. And check out the below video for some Jazz Comping Rhythms you can use to practice comping. starting 3rd and 7th reading up in the left hand, and counterchanging in the 5 and 1 for the major, and 7th and 3rd for the minor. It is what the rhythm section players do while the lead player plays the head of a jazz tune or solos over it. Unter Comping (engl. Comping is a perfect example. One of the most important things to remember is that "Comping" is shorthand for ‘accompanying." Have a listen to it. The Dotted Quarter Rhythm This rhythmic pattern can begin on beat 1. There are two main categories of Latin Jazz: 1. Rhythm #6 – Quarter Note Rhythms. COMPING = Adding rhythm and motion to your chords. Download theory supplements, midi files, chord changes and full note-for-note transcriptions of every lesson. In this lesson I’m going to break down the core principles for jazz piano comping. Afro-Cuban Jazz– based on Cuban music with genres like mambo, cha-cha and salsa & popular in the late 1940’s and early 1950’s (sometimes referred to as Cubop) 2. You can’t just learn the chords and some nice voicings and suddenly be a good comper. The rhythm is what differentiates Latin Jazz from regular Jazz. Then when you move to the V7 chord (D7) … play the 3rd and b7 in the left hand (F# and C) and then you can play an upper structure triad with your right hand, Bb Maj triad in it’s second inversion is nice… from bottom to top that’s F, Bb, D (that gives you #5#9) – also try an Ab major triad in it’s 2nd inversion (Eb, Ab, C) to get b9 #11. I’ve listed out the chords and voicings I used below. In particular, have a listen to: In the below video I use the Jazz Standard Gee Baby, Ain’t I Good to You as an example of how to comp, applying all the above rules to create a smooth and nice sounding comp. Wynton Kelly: pianogroove.com/community/t/wynton-kelly-transcription-exercises/3810, Watch The Full 29 Minute Tutorial Sign In or Join Now, UK & Europe: +44 808 196 2012 You’re job here is to support the soloist by providing a rich harmonic background for them to play or to sing over. JAZZ PIANO BASICS - DAN DAVEY Your pianists need YOUR help in rehearsal! You really have to listen to your soloist and actually complement them. Upper structure triads are complex sounding altered dominant chords. JAZZ PIANO BASICS - DAN DAVEY JAZZ PIANO BASICS DAN DAVEY. Then I like to resolve to a G-11 stacked in thirds… G- triad in the left hand, F Major triad in the right hand to get b7 – 9 – 11 in the right hand. For even more rhythmic comping ideas, be sure to check out this essential Jazz guitar comping rhythms lesson here. Comping means ‘accompanying’ or ‘complementing’ a soloist by playing the chords. In this short masterclass I’m going to show 3 simple ideas for comping over a major 251 that you can practice, modify and add to your own playing. Listen to what they’re doing and how they are reacting to and complementing the soloist. Complement the soloist rhythmically AND harmonically; 2. Get access to the Jazz 101 course and a whole load more!http://bit.ly/PianoPigAcademyIn this video, I show you some basic comping rhythms for beginners. Good work. Pick the appropriate register for the voicing (generally stick to the middle register) & get out of soloist’s way, Use intervals of 4ths or greater (this creates more ‘space’ for the soloist), You CAN play the root in your left hand (don’t worry too much about the bass player, he’ll figure it out), Law of Conservation of Energy (Voice Leading), Minimise movement between chords (this creates smooth voice leading), Have as many common tones as possible (notes that don’t change between chords), Move the notes that do change as little as possible, Create a counter-melody with the top note of your chords (using appropriate voicings), The soprano voice (top note) should move smoothly and melodically and largely in steps (i.e. Joining the jazz band … Ask questions and get instant replies from our team of teachers. But broadly, there are three different comping ‘styles’ or ‘approaches’ you can employ. Rhythm is the most important, as you have to be integrated with the rhythm section or be responsible for the time, for example, in a duo setting. Secondary Dominant Chords After working with altering the rhythm, the next step is to take a deeper look at what’s going on harmonically. Let’s deal with each comping element individually. Rhythm #7 – Dotted Quarter notes. Jazz Piano Comping Voicings & Rhythms. For the II and the V chords, you can also double the top/bottom note of the right hand triad to get a bigger sound. Any suggestions? (adsbygoogle = window.adsbygoogle || []).push({});
. Use short staccato notes with pauses, leaving the silent, open spaces for soloist to fill, Don’t use overly complex harmonies/substitutions (at first) – Keep it simple, stupid. You are correct that the left hand notes can be inverted easily with the major 251. “Comping” is a term coined by jazz musicians, which means accompaniment. Play through Autumn Leaves with the iRealPro App to make sure you are keeping good time. The only requirements is that the comping is syncopated – so use at least 1 or 2 off-beats. Right Hand: Major triad built from a whole step below the root, but played an octave higher. Major 251 Comping Ideas. Comping Rhythms For Jazz Piano Now that you can walk a bass line, and know which notes to play for a nice 4-note voicing sound with your right hand, let's talk about rhythm and give you something to practice! If there’s a pause in the solo (breath) – comp busily, Don’t overdo it at first – you don’t want to clash with melody or soloist – but gradually get more adventurous.
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